‘Many of my paintings are based on various aspects of the urban landscape and are largely epitomised by the deterioration of two ubiquitous forms of communication, the advertising hoarding and graffiti. I am interested in the unrelated juxtaposition of words and images and the unexpected connotations that result from the effects of neglect, erosion and delamination.

For me these partly revealed words and images are metaphors for the confusion created in a disturbing world of alternative facts and fake news. In this instance seeking out familiar words or images can

represent a search for the security, safety and stability to be derived from the recognition of familiar images within the chaos, a search that is often frustrated by the ambiguity of those same fragmented words, shadows or human forms. Perhaps the irony here is that these images can have an aesthetic appeal, a strong visual vibrancy and in some cases, an element of



He has carried out multi-plane paintings on glass, Pepper’s ghosts,

dioramas, models, murals and props for museums such as Elmbridge

museum, the Natural History Museum, the National Maritime Museum,

Chatham Historic Dockyard, Stoke City Museum and Art Gallery and

the Beatles Museum. Museums abroad include Tel Aviv, Jerusalem,

Singapore, Taichung and Sharjah. He has designed and built many exhibitions including a 60 square metre reconstruction of a picture editor’s office for the National Media

Museum in Bradford, a full-size cross section of a nuclear reactor for

the Science Museum in London and a 20m long x10m high

reconstruction of the Cunard Line’s ship Aquitania for the Maritime

Museum in Liverpool.

He worked as an art director for many television commercials and has

carried out paintings, drawings, props and special effects for, among

others, television’s Poirot, Tipping the Velvet, Fingersmith and feature

films such as The Keep, A Passage to India, Omen 2, Midnight

Express, White Mischief, From Hell and the Harry Potter films.